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Johnny Griffin

The Congregation

The great tenor saxophonist Johnny Griffin is heard in top form on this near-classic quartet set. Assisted by pianist Sonny Clark, bassist Paul Chambers, and drummer Kenny Dennis, Griffin is exuberant on The Congregation (which is reminiscent of Horace Silver's The Preacher), thoughtful on the ballads, and swinging throughout. It's recommended for bop collectors.

Little Niles (Pure Pleasure)

Randy Weston, one of the world's foremost pianists and composers, a true innovator and visionary. Starting with the gospel of bop according to Thelonious Monk, Weston gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance, marked by a stabbing quality reminiscent of, but not totally indebted to Monk.

Combining the Ellingtonish arrangements of Melba Liston with the rhythmically intriguing explorations of Randy Weston this album represented a high point in his career at the time. All the tunes, written by Randy Weston, were inspired by his children Niles and Pamela. The innocence, excitement, anticipation and tension of childhood are all displayed here in these warm vinyl grooves.

Musicians:

Randy Weston (piano)

Johnny Griffin (tenor saxophone)

Ray Copeland, Idrees Sulieman (trumpet)

Melba Liston (arranger, trombone)

George Joyner (bass)

Charlie Persip ( drums)

Recording: October 1958 at RCA Studios, NYC

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

The Tenor Scene

Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.

During the two-year existence of their Tough Tenors quintet, Eddie Lockjaw Davis (a Prestige artist) and Johnny Griffin (under contract to Riverside/Jazzland) satisfied their contractual obligations by recording five albums for each company. This was the pair's first for Prestige, and the first of a four-album series taped over the course of an extremely productive evening at the legendary Minton's Playhouse in Harlem. The album, also known as The Breakfast Show in an earlier reissue, gives the rhythm section several opportunities to shine, with Ben Riley's drums dominant on Woody'n You, Bingo Domingo featuring Larry Gale's bass, and Junior Mance's piano solo almost stealing the show on Light and Lovely. It is the leaders, though, who consistently deliver with their complimentary brand of intensity, which is heard at the boil throughout and reaches a particular peak when they exchange ideas on Straight, No Chaser.

The Man I Love

Johnny Griffin had a reputation as the world's fastest tenor. At this intense live date captured at Club Montmarte in Copenhagen in 1967, the saxophonist lives up to such a billing and more, attacking five compositions with dynamite energy and blinding speed. In addition, Griffin displays the warm and sensitive side he developed later in his career on a touching rendition of Duke Ellington's Sophisticated Lady. Throughout, he's aided by a resolutely controlled and superbly dynamic rhythm section comprised of bassist Niels Pederson and drummer Albert Tootie Heath, who, with pianist Kenny Drew, match Griffin's red-hot bravado. This is a hard-bop set no one will want to miss.

Originally released by the UK label Black Lion, an imprint that specialized in resurrecting rare gems from US jazz and blues legends, The Man I Love is on par with Griffin's finest studio outings for Blue Note and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music. Orchestrated by ORG Music, this historical reissue is afforded the ultimate in audiophile production standards, resulting in sonics and presentation befitting the museum-like worth of this record's existence.

Mastered from the original master tapes at Bernie Grundman Studios by Chris Bellman and pressed at Pallas, the 180 gram LP was curated by legendary engineer Steve Hoffman and eq'd by Grundman himself. A better team you cannot find; every step involved serious quality-control measures to guarantee gorgeous sound. The superb vinyl jacket features exclusive artwork. This is what being a collector is all about.

The title isn't as widely known as some of Griffin's other work, but this reissue preserves historically significant music that will be enjoyed by generations to come.

1. The Man I Love2. Hush-A-Bye3. Blues for Harvey4. The Masquerade Is Over5. Sophisticated Lady6. Wee

Introducing Johnny Griffin

Johnny Griffin had been kicking around in R&B bands for years before his Blue Note debut in 1956. And what was introduced was a tenor saxophonist with a fresh sound, a warm, soulful style and the fastest technique in jazz. He moves from lyrical ballads to blistering tempos with ease. Within two years, Griff would become one of the leading tenor saxophonists in jazz as a member of Thelonious Monk's quartet.

Johnny Griffin, tenor saxophone

Wynton Kelly, piano

Curly Russell, bass

Max Roach, drums

1. Mil Dew 2. Chicago Calling3. These Foolish Things4. The Boy Next Door5. Nice And Easy6. It's All Right With Me7. Lover Man

The Congregation (Limited Edition)

This album is not eligible for any discounts

Johnny Griffin is one of the fastest, sharpest tenor saxophonists to emerge in the fertile 1950s. His third and final Blue Note recording is one of a handful that sported a cover illustration by the then struggling artist Andy Warhol. The quartet date with Sonny Clark and Paul Chambers is a relaxed, mature affair that ranges from the gospel-flavored title tune to a beautiful I'm Glad There Is You and an up-tempo It's You or No One. Added to the original album is I Remember You, a bonus track from the session. Better than ever on this Limited Edition 180g Japanese Import LP!

1. The Congregation2. Latin Quarter3. I'm Glad There Is You4. Main Spring5. It's You Or No One6. I Remember You

Misterioso

1958's Misterioso was culled from the same 1958 Five Spot Cafe performances that produced Thelonious In Action and features the same quartet of Monk (piano), Johnny Griffin (tenor sax), Roy Haynes (drums) and Ahmed Abdul-Malik (bass). The swinging 6-song set consists of of all Monk arranged originals, with the exception being Just a Gigalo, which he performs unaccompanied here. Griffin proves to be the perfect foil for Monk's unorthodox genius throughout, particularly on the 10-minute plus title track treasure and the multi-layered Let's Cool One.

Chet Baker In New York

A uniformly brilliant effort from cool-toned trumpeter Chet Baker in his first ever appearance as a leader for the New York-based label Riverside Records, In New York is the epitome of West Coast cool meets East Coast sensibility. Teaming up with pianist Al Haig, tenor saxophonist Johnny Griffin, bassistPaul Chambers, and drummer Philly Joe Jones, Baker's laid-back mastery is on full display throughout this historic session.

Marked by an uncanny group unity, which gives rise to many outstanding supporting solos, the tracks captured on In New York alternatingly effervescewith a California-cool introspection ("Polka Dots And Moonbeams") and percolate with driving intensity ("Hotel 49"). An excellent survey of Baker's styleand prowess as a leader, Chet Baker In New York is highly recommended as THE album to own for anyone curious about diving in to his illustriouscatalog.

The Kerry Dancers & Other Swinging Folk (Out Of Stock)

A musician with a penchant for variety and surprise, Johnny Griffin has provided plenty of both through his long career. This 1961 quartet album found the master tenor saxophonist exploring the possibilities in four familiar folk songs, three original compositions and a standard song, Hush-a-Bye, based on a classical piece. To all of them Griffin applied his magisterial tone, vital imagination and ability to extract the greatest meaning from any harmonic structure. His companions in the adventure were Barry Harris, who was virtually the Riverside Records house pianist during this period; Ron Carter, a bassist of steadily increasing importance; and Ben Riley, then working with Sonny Rollins and soon to become Thelonious Monks drummer. It is unlikely that any group of Scottish singers ever performed Green Grow the Rushes with energy like Griffins.

A Night In Tunisia (Out Of Stock)

The lengthy title track on this LP easily overshadows the rest of the program for it is one of the most exciting versions ever recorded of Dizzy Gillespie's "A Night in Tunisia." Trumpeter Lee Morgan (then only in his early 20s), tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt formed one of the strongest of the many versions of Art Blakey & the Jazz Messengers and are actually in fine form during the remainder of this amazing set.

Musicians:

Art Blakey - drums

Jackie McLean - alto saxophone

Johnny Griffin - tenor saxophone

Bill Hardman - trumpet

Sam Dockery - piano

Spanky DeBrest - bass

1. A Night in Tunisia2. Off the Wall 3.Theory of Art 4. Couldn't It Be You? 5. Evans

A Night In Tunisia (Out Of Stock)

The lengthy title track on this LP easily overshadows the rest of the program for it is one of the most exciting versions ever recorded of Dizzy Gillespie's "A Night in Tunisia." Trumpeter Lee Morgan (then only in his early 20s), tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt formed one of the strongest of the many versions of Art Blakey & the Jazz Messengers and are actually in fine form during the remainder of this amazing set.

Musicians:

Art Blakey - drums

Jackie McLean - alto saxophone

Johnny Griffin - tenor saxophone

Bill Hardman - trumpet

Sam Dockery - piano

Spanky DeBrest - bass

1. A Night in Tunisia2. Off the Wall 3.Theory of Art 4. Couldn't It Be You? 5. Evans

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